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Saturday, August 18, 2012

It's Film Strip Friday! The Incredibles

It’s Film Strip
Friday!

The Incredibles

Release Date November
5th, 2004

SYNOPSIS:

In a day
when superheroes have been forced underground, Bob and Helen Parr, along with
their kids Violet, Dash, and baby Jack-Jack, seem like an ordinary everyday
suburban family. No one would guess that Mr. and Mrs. Parr are actually
super-strong Mr. Incredible and stretchy Elastigirl, or that their kids have
secret super powers of their own. When Mr. Incredible, unable to resist the
urge to "save the day," falls into the clutches of villainous
Syndrome, it's up to his family to spring into action and use their superpowers
to come to the rescue. In the process, this family of supers will become
super-close -- and learn that they're always strongest when they work as a team.

FUN FACTS:

The Incredibles is an American
computer-animated superhero comedy film written and directed by Brad Bird,
released by Walt Disney Pictures on November 5, 2004, and the sixth film
produced by Pixar Animation Studios. The story follows a family of superheroes
living a quiet suburban life, forced to hide their powers. When father Bob
Parr's yearning for his glory days and desire to help people drags him into
battle with an evil villain and his killer robot, the entire Parr family is
forced into action to save the world.

Bird, who was Pixar's first outside director, developed
the film as an extension of 1960s comic books and spy films from his boyhood
and personal family life. He pitched the film to Pixar after the box office
disappointment of his first feature, The Iron Giant (1999), and carried
over much of its staff to develop The Incredibles. The animation team
was tasked with animating an all-human cast, which required creating new
technology to animate detailed human anatomy, clothing and realistic skin and
hair. Michael Giacchino composed the orchestral score of The Incredibles.

The film was released by Walt Disney Pictures on November
5, 2004 and performed highly at the box office, grossing $631,442,092 during
its original theatrical run. The Incredibles was met with high critical
acclaim, garnering high marks from professional critics and audiences, and
provoking commentary on its themes. Many critics called it the best film of
2004, receiving the 2004 Annie Award for Best Animated Feature, along with two
Academy Awards. It became the first entirely animated film to win the
prestigious Hugo Award for Best Dramatic Presentation.

Plot

"Supers"—humans gifted with superpowers—were
once seen as heroes, but collateral damage from their various good deeds led
the government to create a "Supers Relocation Program", forcing the
Supers to fit in among the civilians and not use their superpowers. Bob and
Helen Parr, who are Supers, have married and now have three children, Violet,
Dash, and Jack-Jack, in the suburbs of Metroville. Violet and Dash have innate
superpowers, but the toddler Jack-Jack has yet to show any. Bob, stuck in a
white-collar job at an insurance agency, reminisces of his former days as Mr.
Incredible, and sneaks out on Wednesday nights with his Super friend, Lucius
Best (a.k.a. Frozone), to fight street crime.

One day, Bob loses his temper with his boss who refuses
to help a mugging victim just outside the building, which results in Bob
revealing his super strength and losing his job. While trying to figure out
what to tell Helen, he finds a message from a woman named "Mirage",
who asks for Mr. Incredible's help to stop a rogue robot on a distant island
for a lucrative reward. Bob, claiming to Helen that he is going on a business
trip, takes up Mirage's offer, and successfully defeats the powerful Omnidroid
(v x8). On his return to Metroville, Bob spends his days working out and
getting back into shape. He takes his super suit, torn in the battle with the
Omnidroid, to Edna Mode, the fashion designer to the Supers, and asks her to
repair it. She does so, and also insists on creating a new, better super suit
for him. She refuses his request to add a cape, though, highlighting how this
accessory has doomed several other Supers before him by getting caught on
things.

Mirage soon contacts Bob with another job on the same
island. On arriving, he finds the Omnidroid (v x9), rebuilt and reprogrammed to
be stronger than before. While trapped by the robot, he meets its creator, the
technology-savvy villain Syndrome. Bob recognizes him as a young fan, Buddy
Pine, who as a teenager wanted to be Mr. Incredible's sidekick IncrediBoy but
was turned down, due to Bob preferring to work alone. Syndrome has vowed
revenge for this shunning, and sets the Omnidroid to kill Bob. Bob fakes his
death and hides from the robot, discovering the body of a former Super,
Gazerbeam. His curiosity piqued, he breaks into Syndrome's base and finds a
computer, which outlines Syndrome's obsessive work in tracking down former Supers
to lure them into fighting the Omnidroid, and using the results of those fatal
battles to improve each incarnation of the machine. Bob is relieved to discover
that Helen and his children are not yet identified in Syndrome's database, and
learns that a final design of the Omnidroid (v x10) will be launched toward
Metroville, seemingly to destroy it.

Meanwhile, Helen has become suspicious of Bob having an
affair. After discovering Bob's repaired super-suit, she talks to Edna and
learns she created new suits for the entire Parr family, each outfitted with a
tracking device. Helen triggers Bob's, identifying the remote island but
inadvertently revealing Bob's presence to Syndrome's headquarters and causing
him to be captured. Helen borrows a private jet from an old friend and travels
to the island. Midway she learns that Violet and Dash have stowed away while
leaving Jack-Jack at home with a babysitter. As they near the island, Syndrome
shoots down the jet, but Helen and the children safely make it ashore. Though
Helen rescues Bob and regroups with Violet and Dash as they outrun Syndrome's
guards, they are soon captured by Syndrome, who identifies all of them as a
family of Supers. With the Parrs contained, Syndrome explains that he will
launch the newly perfected Omnidroid to Metroville, sending the city into
chaos, upon which he will appear and, using a control band, "subdue"
the robot and become the city's hero. Syndrome launches the Omnidroid on a
rocket and follows in his aircraft. After his departure, Violet escapes and
helps to free the rest of the family, and with Mirage's help, they board a
second rocket bound for the city.

In Metroville, the Omnidroid starts a path of
destruction, and Syndrome enacts his plan, stopping the robot resulting in the
people's cheers. The Omnidroid observes the remote-control band and fires it
off Syndrome's arm, sending the villain scurrying away while the robot
continues to wreck the city. The combined abilities of the Parrs and Lucius are
able to best and destroy the robot, and the city welcomes them back as heroes.
As they are driven back to their home, Helen anxiously calls the babysitter and
learns that Syndrome has abducted Jack-Jack. When they arrive at home, Syndrome
is taking the toddler to his jet, planning to raise the boy to fight against
the Supers in the future. As Bob and Helen launch a rescue attempt, Jack-Jack
reveals his powers of transformation and fire-creation, forcing Syndrome to
drop him into Helen's waiting arms. Syndrome tries to escape, but due to Bob's
intervening, his cape is caught in the suction of his aircraft's engine, which
kills him. The ruined plane crashes into the Parrs' home, but Violet is able to
protect the family from harm.

Some time later, the Parrs have re-adjusted to normal
life, but when a new villain, the Underminer, appears, the Parrs put on their
masks, ready to battle the new foe.

Sarah
Vowell as Violet Parr, the Parrs' middle-schooler daughter, who possesses
the ability to turn invisible and create a force shield around herself or
other people.

Eli
Fucile and Maeve Andrews as Jack-Jack Parr, Bob and Helen's infant son,
who initially shows no powers but near the end of the film reveals himself
to have an enormous range of abilities including shape-shifting,
teleporting, laser vision, self-immolation, flight, etc.

Jason Lee
as Buddy Pine/Syndrome, who has no super powers of his own but uses
advanced technology to give himself equivalent abilities.

Samuel L.
Jackson as Lucius Best/Frozone, Bob's close friend, who has the ability to
form ice from himself and from the humidity in the air.

Elizabeth
Peña as Mirage, Syndrome's agent who lures Supers to the island.

Brad Bird
as Edna Mode, fashion designer for the Supers.

Bud
Luckey as Rick Dicker, the government agent overseeing the Relocation
Program.

Wallace
Shawn as Gilbert Huph, Bob's boss at his white-collar job.

John
Ratzenberger as The Underminer, a new villain who appears at the end of
the film.

Dominique
Louis as Bomb Voyage, a villain from the past who uses Buddy's
interference in Mr. Incredible's heroism to escape.

Bret
Parker as Kari McKeen, the babysitter.

Production

Writing

The Incredibles as a concept dates back to 1993, when
Bird sketched the family during a period in which he tried to break into film.
Personal issues had percolated into the story as they weighed on him in life.
During this time, Bird had inked a production deal with Warner Bros. Animation
and was in the process of directing his first feature, The Iron Giant.
Bird, who was then in his late thirties, began to wonder, with a measure of
fear, about the conflict between career and family responsibilities.
Approaching middle age and having high aspirations for his filmmaking, he
pondered whether these aspirations were attainable only at the price of his
family life. He felt that he would completely fail at one if he focused too
much on the other. He stated, "Consciously, this was just a funny movie
about superheroes. But I think that what was going on in my life definitely
filtered into the movie." To maker matters worse, The Iron Giant
was released in the fall of 1999 and tanked at the box office due to mismanaged
marketing on behalf on Warner Bros. Although it was labeled a masterpiece, Bird
was heartsick and gravitated toward his superhero story.

“The dad is always expected in the family
to be strong, so I made him strong. The moms are always pulled in a million
different directions, so I made her stretch like taffy. Teenagers, particularly
teenage grils, are insecure and defensive, so I made her turn invisible and
turn on shields. And ten-year-old boys are hyperactive energy balls. Babies are
unrealized potential.”

-Brad Bird, writer and director of the
Incredibles.

He imagined it as an homage to the 1960s comic books and spy
films from his boyhood and he initially tired to develop it as a traditionally
animated film. When it became clear The Iron Giant would not find the
audience he'd hoped for in its theatrical run, he reconciled with old friend John
Lasseter at Pixar in March 2000 and pitched his story idea to him. Bird and
Lasseter knew each other from their college years at CalArts
in the 1970s. Lasseter was sold on the idea and convinced Bird to come to
Pixar, where the movie would be done in computer animation. The studio
announced a multifilm contract with Bird on May 4, 2000. This broke Pixar's
mold of having directors who had all risen through the ranks, and Bird became
the first outside director to be hired. In addition, it would be the company's
first film in which all characters are human. Bird was a departure from other
Pixar directors in many more ways, bringing an auteur approach not found in
their earlier productions. Where Pixar films typically had two or three
directors and a battalion of screenwriters, The Incredibles was written
and direction solely by Brad Bird.

Bird came to Pixar with the lineup of the story's family
members worked out: a mom and dad, both suffering through the dad's midlife
crisis; a shy teenage girl; a cocky ten-year-old boy; and a baby. Bird had
based their powers on family archetypes. After several failed attempts to cast
Edna Mode, Bird took on her voice role himself. It was an extension of the
Pixar custom of tapping in-house staff whose voices came across particularly
well on scratch dialogue tracks. During production, Hayao Miyazaki of Studio
Ghibli visited Pixar and saw on the story reels of The Incredibles. When
Bird asked if the reels made any sense or if they were just "American
nonsense," Miyazaki replied genially, through an interpreter, "I
think it's a very adventurous thing you are trying to do in an American
film."

Animation

Upon Pixar's acceptance of the project, Brad Bird was
asked to bring in his own team for the production. He brought up a core group
of people he worked with on The Iron Giant. Because of this, many 2D
artists had to make the shift to 3D, including Bird himself. Bird found working
with CG "wonderfully malleable" in a way that traditional animation
is not, calling the camera's ability to easily switch angles in a given scene
"marvelously adaptable." He found working in computer animation
difficult in a different way than working traditionally, finding the software
sophisticated and not particularly friendly. Bird wrote the script without
knowing the limitations or concerns that went hand-in-hand with the medium of computer
animation. As a result, this was to be the most complex film for Pixar yet. The
characters in The Incredibles were designed by Tony Fucile and Teddy
Newton, whom Bird had brought with him from Warner Bros. Like most
computer-animated films, The Incredibles had a year-long period of
building the film from the inside out: modeling the exterior and understanding
controls that work face and body — the articulation of the character — before
animation could even begin. Bird and Fucile tried to emphasize the graphic
quality of good 2D animation to the Pixar team, who'd only worked primarily in
CG. Bird attempted to incorporate teaching from Disney's Nine Old Men that the
crew at Pixar had "never really emphasized."

For the technical crew members, the human characters in The
Incredibles posed a difficult set of challenges. Bird's story was filled
with elements that were difficult to animate with CGI at the time. Humans are
widely considered to be the most difficult thing to execute in animation. Pixar
animators filmed themselves walking in order to better grasp proper human
motion. Creating an all-human cast required creating new technology to animate
detailed human anatomy, clothing and realistic skin and hair. Although the
technical team had some experience with hair and cloth in Monsters, Inc.
(2001), the amount of hair and cloth required for The Incredibles had
never been done by Pixar until this point. Moreover, Bird would tolerate no
compromises for the sake of technical simplicity. Where the technical team on Monsters,
Inc. had convinced director Pete Docter to accept pigtails on Boo to make
her hair easier to animate, the character of Violet had to have long hair that
obscured her face; it was integral to her character. Violet's long hair was
extremely difficult to achieve and for the longest time during production, it
was not possible. In addition, animators had to adapt to having hair underwater
and blowing through the wind. Disney was initially reluctant to make the film
because of these issues, feeling a live-action film would be preferable, though
Lasseter vetoed this.

The Incredibles not only dealt with the trouble of
animating CG humans, but also voluminous amounts of even more complication. The
story was bigger than any prior story at the studio, was longer in running
time, and had four times the number of locations. Supervising technical
director Rick Sayre noted that the hardest thing about The Incredibles
was that there was "no hardest thing," alluding to the amount of new
technical challenges: fire, water, air, smoke, steam, and explosions were all
additional to the new difficulty of working with humans. The organization
structure of The Incredibles could not be mapped out like previous Pixar
features, and it became a running joke to the team. Sayre said the team adopted
“Alpha Omega," where one team was concerned with building modeling,
shading and layout and another that dealt with final camera, lighting and
effects. Another team, dubbed the character team, digitally sculpted, rigged
and shaded the characters, and a simulation team was responsible for developing
simulation technology for hair and clothing. There were 781 visual effects
shots in The Incredibles and they were quite often the gag, such as the
shattering when Bob angrily shuts the car door. In addition, the effects team
improved upon the modeling of clouds, being able to model them for the first
time with volumetric rendering.

The skin of the characters gained a new level of realism
from a technology to produce what is known as "subsurface scattering."
The challenges did not stop with modeling humans. Bird decided that in a shot
near the end of the film, baby Jack-Jack would undergo a series of
transformations, and in one of the five planned he would turn himself into a
kind of goo. Technical directors believed it would take upwards of two months
to work out the goo effect, and production was at a point where two months of
their time was indescribably precious. They petitioned to the film's producer,
John Walker for help. Bird, who had brought Walker over from Warner Bros., took
great exception to the idea that Jack-Jack could undergo a mere four
transformations and that The Incredibles could do without the goo-baby.
They argued over the issue in several invective-laced meetings for two months
until Bird finally gave in. Bird also insisted that the storyboards define the
blocking of characters' movements, lighting, and camera moves, which had
previously been left to other departments rather than storyboarded.

Bird self-admitted that he "had the knees of [the
studio] trembling under the weight" of The Incredibles, but called
the film a testament to the talent of the animators at Pixar, who were admiring
the challenges the film provoked. He recalled, "Basically, I came into a
wonderful studio, frightened a lot of people with how many presents I wanted
for Christmas, and then got almost everything I asked for."

Music

The Incredibles is the first Pixar film to be scored by Michael
Giacchino. Brad Bird was looking for a specific sound as inspired by the design
of the film — the future as seen from the 1960s. John Barry was the first
choice to do the film's score, with a trailer of the film given a rerecording
of Barry's theme to On Her Majesty's Secret Service. However Barry did
not wish to duplicate the sound of some of his earlier soundtracks; the
assignment was instead given to Michael Giacchino. Giacchino noted that
recording in the 1960s was largely different than modern day recording and Dan
Wallin, the recording engineer, said that Bird wanted a very old feel, and as
such the score was recorded on analogue tapes. Wallin noted that brass
instruments, which are at the forefront of the score of The Incredibles,
sound better on analog equipment rather than digital. Wallin came from an era
in which music was recorded, according to Giancho, "the right way,"
which consists of everyone in the same room, "playing against each other
and feeding off each other's energy." Tim Simonec was the
conductor/orchestrator for the recording of the score.

The completely orchestral score was released on November
2, 2004, three days before the film opened in theaters. It won numerous awards
for Best Score and was nominated for a Grammy Award.

Themes

Many drew precise parallels between The Incredibles
and certain superhero comic books, like Powers, Watchmen, and Fantastic
Four. Indeed, the producers of the 2005 adaption of the Fantastic Four
were forced to make significant script changes and add more special effects
because of similarities to The Incredibles. Bird was not surprised that
comparisons arose due to superheroes being "the most well-trod turf on the
planet," but noted that he'd not been inspired by any comic books
specifically, only having even heard of Watchmen. He did comment that it
was nice to be compared to something as highly regarded as Watchmen.

Some commentators took Bob's frustration with celebrating
mediocrity and Syndrome's comment that if "everyone is super, then no one
is" as a reflection of views shared by German philosopher Friedrich
Nietzsche or an extension of Russian-American novelist's Ayn Rand's Objectivism
philosophy, which Bird felt was "ridiculous." He stated that a large
portion of the audience understood the satire whereas "two percent thought
I was doing The Fountainhead or Atlas Shrugged." Some
purported that The Incredibles exhibited a right-wing bias, which Bird
found silly. "I think that's as silly of an analysis as saying The Iron
Giant was left-wing. I'm definitely a centrist and feel like both parties can
be absurd."

Despite disagreeing with some analysis, Bird felt it
gratifying for his work to be considered on another level, which was his his
intention: "The fact that it was written about in the op/ed section of the
New York Times several
times was really gratifying to me. Look, it's a mainstream animated movie, and
how often are those considered thought provoking?"

Release

The Incredibles opened on November 5, 2004 as Pixar's
first PG-rated film (thanks to its action sequences). Its theatrical release
was accompanied with a Pixar short film Boundin'. While Pixar celebrated
another triumph with The Incredibles, Steve Jobs was embroiled in a
public feud with the head of its distribution partner, The Walt Disney Company.
This would eventually lead to the ousting of Michael Eisner and Disney's
acquisition of Pixar the following year.

Home media

The Incredibles two-disc Collector's Edition DVD set and
VHS edition were released on March 15, 2005. The DVD release of the film also
includes Jack-Jack Attack, a Pixar short film made especially for the
release of The Incredibles, and Boundin', a Pixar short film
which premiered with The Incredibles in theaters. The Incredibles
was the highest-selling DVD of 2005, with 17.38 million copies sold. The film
was also released on UMD for the Sony PSP. It was released on Blu-ray in North
America on April 12, 2011.

Reception

Critical response

The Incredibles received very positive reviews from film
critics, receiving a 97% approval rating at Rotten Tomatoes which made the
movie the fifteenth greatest action film of all time and the only one of Top 20
with more than 100 reviews. Metacritic indicates The Incredibles
"universal acclaim" with a 90 out of 100 rating. Critic Roger Ebert
awarded the film 3 1⁄2 stars out
of four, writing that the film "alternates breakneck action with satire of
suburban sitcom life" and is "another example of Pixar's mastery of
popular animation." Rolling Stone gave the film 3 1⁄2
stars and called the movie "one of the year's best" and said that it
"doesn't ring cartoonish, it rings true." Also giving the film 3 1⁄2 stars, People magazine found that
The Incredibles "boasts a strong, entertaining story and a
truckload of savvy comic touches."

Eleanor Ringel Gillespie of the Atlanta
Journal-Constitution was bored by the film's recurring pastiches of earlier
action films, concluding, "the Pixar whizzes do what they do excellently;
you just wish they were doing something else." Similarly, Jessica Winter
of the Village Voice criticized the film for playing as a standard
summer action film, despite being released in early November. Her review,
titled as "Full Metal Racket," noted that "The Incredibles
announces the studio's arrival in the vast yet overcrowded Hollywood lot of
eardrum-bashing, metal-crunching action sludge."

Peter Travers of Rolling Stone named The Incredibles
No.6 on his list of the best films of the decade, writing "Of all the
Pixar miracles studded through the decade, The Incredibles still delights me
the most. It's not every toon that deals with midlife crisis, marital
dysfunction, child neglect, impotence fears, fashion faux pas and existential
angst."

Box office

Despite concerns that the film would receive
underwhelming results, the film grossed $70,467,623 in its opening weekend from
7,600 screens at 3,933 theaters, averaging $17,917 per theater or $9,272 per screen,
the highest opening weekend gross for a Pixar film (the record was later broken
in 2010 by Toy Story 3 with $110,307,189), the highest opening weekend
for a non sequel animated feature (the record was broken in 2007 by The
Simpsons Movie with $74 million), and the highest opening weekend for a
non-franchise-based film for just over five years when Avatar opened
with $77 million. The film was also No.1 in its second weekend, grossing
another $50,251,359, dropping just 29 percent, and easily outgrossing new animated
opener The Polar Express. The film ultimately grossed $261,441,092, the
fourth-highest gross for a Pixar film behind Toy Story 3 ($415,040,342),
Finding Nemo ($339,714,978) and Up ($293,004,164) and the
fifth-highest grossing film of 2004. Worldwide, the film grossed $631,442,092,
also the fourth-highest gross for a Pixar film behind Toy Story 3
($1,063,440,342), Finding Nemo ($867,893,978) and Up
($731,342,744), and ranked fourth for the year. The film was also the
second-highest grossing animated film that year behind Shrek 2.

It had its network television premiere on Thanksgiving
Day 2007 on NBC sponsored by Target and its basic cable premiere on ABC Family
as part of The 25 Days of Christmas in December 2007, and its second cable
showing on Disney Channel as part of the No Ordinary Friday on February 1,
2008.

Accolades

The Incredibles won the Academy Award for Best Animated
Feature, beating two DreamWorks films, Shrek 2 and Shark Tale as
well as Best Sound Editing at the 77th Academy Awards. It also received
nominations for Best Original Screenplay (for writer/director Brad Bird) and Best
Sound Mixing (Randy Thom, Gary Rizzo and Doc Kane). It was Pixar's first
feature film to win multiple Oscars, followed in 2010 by Up. Joe
Morgenstern of the Wall Street Journal called The Incredibles the
best picture of the year. Premiere magazine released a cross-section of
all the top critics in America and The Incredibles placed at number
three, whereas review aggregator website Rotten Tomatoes cross-referenced
reviews that suggested it was the highest-rated film of its year.

The film also received the 2004 Annie Award for Best
Animated Feature and the 2005 Hugo Award for Best Dramatic Presentation, Long
Form, and it was nominated for the 2004 Golden Globe Award for Best Motion
Picture – Musical or Comedy. It also won the Saturn Award for Best Animated
Film.

The American Film Institute nominated The Incredibles
for its Top 10 Animated Films list.

Merchandising

Several
companies released promotional products related to the movie. Dark Horse Comics
released a limited series of comic books based on the movie. Kellogg's released
an Incredibles-themed cereal, as well as promotional Pop Tarts and fruit
snacks, all proclaiming an "Incrediberry Blast" of flavor. Pringles
included potato chips featuring the superheroes and the movie quotes.
Furthermore, in the weeks before the movie's opening, there were also
promotional tie-ins with SBC Communications (using Dash to promote the
"blazing-fast speed" of its SBC Yahoo! DSL service) Tide, Downy,
Bounce and McDonald's. Toy maker Hasbro produced a series of action figures and toys based on
the film, although the line was not as successful as the film itself.

In Europe, Kinder chocolate eggs contained small plastic
toy characters from the film.

In Belgium, car manufacturer Opel sold special The
Incredibles editions of their cars.

In the United Kingdom, Telewest promoted blueyonder internet
services with branding from the film, including television adverts starring
characters from the film.

In all merchandising outside of the film itself,
Elastigirl is referred to as Mrs. Incredible. This is due to a licensing
agreement between Disney·Pixar and DC Comics, who has a character named Elasti-Girl
(a member of the Doom Patrol). The DC Comics character is able to grow
and shrink at will from microscopic size to thousands of feet tall.

Comics

In July 2008, it was announced that a series of comic
books based on The Incredibles would be published by BOOM! Studios in
collaboration with Disney Publishing by the end of the year.

The first miniseries by BOOM! wasThe Incredibles:
Family Matters by Mark Waid and Marcio Takara, which was published from
March to June 2009, and collected into a trade paperback published in July of
that year. An ongoing series written by both Mark Waid and Landry Walker, with
art by Marcio Takara and Ramanda Kamarga, began later that same year, running
for sixteen issues before being cancelled in October 2010. Marvel has begun a
reprint of the series starting in August 2011 and possibly finish the
storyline, which was abruptly cancelled despite scripts and art having been
produced for a finale.

Video game

A video game based on the film was released for the PlayStation
2, Xbox, Nintendo GameCube, Game Boy Advance, PC, Apple Macintosh, and mobiles.
Though based on the movie, several key scenes are altered from the original
script.

A second game, The Incredibles: Rise of the Underminer,
was released for PlayStation 2, GameCube, Xbox, Mac OS X, Game Boy Advance, Nintendo
DS, and Windows. Taking place immediately after the movie, the sequel focuses
on Mr. Incredible and Frozone as they do battle with the megalomaniacal mole,
The Underminer.

A third game, The Incredibles: When Danger Calls,
was released for Windows and Mac OS X. It is a collection of 10 games and
activities for the playable characters to perform.

Another game, Kinect Rush: A Disney Pixar Adventure,
was released on March 20, 2012, for Xbox 360. It features characters and
missions from five Pixar's films: The Incredibles, Up, Cars,
Ratatouille and Toy Story.

Sequels

In 2004, when Disney owned sequel rights, Disney
announced plans to make sequels for The Incredibles and Finding Nemo
without Pixar involvement. Those plans were subsequently scrapped.

When Disney acquired Pixar in 2006, the expectation of
Disney was that Pixar would create more sequels and bankable franchises.
Director Brad Bird stated in 2007 that he was open to the idea of an Incredibles
2 if he could come up with an idea superior to the original film. "I
have pieces that I think are good, but I don't have them all together,"
Bird said.